L’article « D’une Affaire aux autres » de Josquin Debaz et Sophie Roux, montre combien il est difficile de délimiter ce qu’on appelle « l’Affaire Sokal » et analyse, par un recensement aussi systématique que possible des articles de presse, la différence entre l’affaire américaine et l’affaire française.

Suivant une perspective de sociologie pragmatique des transformations, cet article explore, à travers l’engagement discursif et pratique des figures de l’irréversibilité, une diversité de formes de bifurcations et d’ouvertures d’avenir qui prennent corps dans des micromondes. Il plaide pour la nécessité de rendre intelligible la manière dont s’élaborent, en contexte, de nouvelles prises individuelles et collectives sur des mondes constamment en train de se refaire. L’enquête sociologique s’ouvre à de nouvelles cosmologies moins exclusives où se jouent les capacités de reconfiguration, (...) de rebondissement ou de rupture, ainsi qu’à un agir démocratique qui se forme et se réforme dans ces interstices qui hantent les régimes autoritaires et défient les prophéties déterministes. (shrink)

I draw upon Edmund Husserl’s classic text, On the Phenomenology of the Consciousness of Internal Time, in order to reframe some of his insight regarding the structures of inner time-consciousness and lay the groundwork for a few claims of my own. First, I show how musical expression is constituted in relation to the flowing movement of absolute subjectivity. Moreover, by carefully distinguishing between retention and recollection, I clarify, on the one hand, music’s ability to support access to memory proper and, (...) on the other hand, its ability to keep the past “in play,” so to speak. In this way, we come to understand how music offers a unique memorial capacity—it makes possible the life of the past, as the vital movement of absolute subjectivity. Throughout the essay, I refer to Josquin’s motet Ave Maria…virgo serena in order to clarify the specific temporal structures that are at issue. (shrink)

Musicians sometimes shake their heads in wonderment at the remarkable incidence of musical creativity that occurred in Germany and Austria between the years 1750 and 1900. One after another, a series of musical giants arose in rapid succession, each unique, and each exemplifying human artistic genius of the highest possible order. That the German-speaking world dominated music composition during this period is scarcely open to question. But it was not always this way. In the seventeenth century, the first phase of (...) the period which has come to be known as the Baroque, the Italians were dominant, and in the centuries before that the Flemish composers of the Renaissance and the high Middle Ages like Ockeghem and Josquin des Pres were second to none in importance. (shrink)